Also available on CD TIMOTHY REYNISH CONDUCTING: UNIVERSITY OF KENTUCKY WIND ENSEMBLE VOL 1 (4949-MCD) Samurai (1995) ...... Nigel Clarke Diaghilev Dances (2003) ...... Danse Funambulesque (1930) ...... Jules Strens L’ Homme Armé (2003) ...... Christopher Marshall Concerto for Wind Orchestra (2003) ...... Christian Lindberg UNIVERSITY OF KENTUCKY WIND ENSEMBLE VOL 2 (5347-MCD) Dances from Crete (2003) ...... Adam Gorb Gran Duo (2000) ...... Magnus Lindberg Awake, You Sleepers (2002) ...... Laurence Bitensky Per la Flor del Lliri Blau (1934) ...... Joaquin Rodrigo ITHACA COLLEGE SYMPHONIC BAND VOL 3 (6733-MCD) King Pomade Suite No 2 (1953) ...... Ranki Gyorgy Elegy for Miles Davis (1993) ...... Richard Rodney Bennett Symphony of Winds (1981) ...... Derek Bourgeois Blackwater (2006) ...... Fergal Carroll Tails aus dem Vood Viennoise (1992) ...... Bill Connor

THE ROYAL NORTHERN COLLEGE OF MUSIC WIND ORCHESTRA CHAN 9549 Percy Grainger Works for Wind Orchestra Volume 1 CHAN 9630 Percy Grainger Works for Wind Orchestra Volume 2 CHAN 9697 British Wind Band Classics, Holst & Vaughan Williams CHAN 9805 German Wind Band Classics, Hindemith, Schoenberg, Toch & Blacher CHAN 9897 French Wind Band Classics, Berlioz, Schmitt, Milhaud, Bozza & Saint-Saens DOYCD 037 Morning Music - Midnight Music:Richard Rodney Bennett & DOYCD 043 Wind Music by Edward Gregson DOYCD 127 Wind music by Judith Bingham, Adam Gorb and Roger Marsh KLAV 11152 Wind music by Nigel Clarke, Adam Gorb, Martin Ellerby & Geoffrey Poole

More information on Timothy Reynish visit www.timreynish.com For info on recordings of WASBE Conferences in 1999, 2003, 2005, 2007 go to www.markcustom.com Records • 10815 Bodine Road • Clarence, NY 14031-0406 phone: 716.759.2600 • fax: 716.759.2329 • www.markcustom.com 6804-MCD ൿ 2006 Programme Notes historic periods, new commissions, and those newer works that serve to expand the evolving repertoire for the wind ensemble. Guest conductors and composers from around the globe who have worked with the ensemble include Samuel Adler, David How can you bridge the gap between so-called contemporary music and more popular music known and Amran, Frank Battisti, Warren Benson, John Corigliano, Michael Daugherty, David Dzubay, , Arnald Gabriel, John used much more widely, and how can you make the music for our time more accessible to the layman? Answering Harbison, Robert Jager, Karel Husa, Libby Larsen, David Maslanka, Ron Nelson, Larry Rachleff, Tim Reynish, Carl St. Clair, these questions was worth a try. , Joseph Schwantner, Richard Strange, Frank Ticheli, and John Whitwell. The distinguished composer, Marcel Wengler, writing about his work Versuche uber einen Marsch, articulated Membership in the 48-member ensemble is determined by audition in the fall of each academic year. The wind and the excitement that is abroad today about wind music and the emerging wind repertoire. percussion players in the Wind Ensemble are among the most talented in the School of Music. Almost all of the performers in the Sir Simon Rattle acknowledged the incredible standard of wind, brass and percussion playing of our time when he told me: ensemble are undergraduates; the majority are studying music education. ... the more we encourage composers to use the wind ensemble, the better it's going to be, particularly Ithaca College's School of Music, housed in the James J. Whalen Center for Music, enjoys a distinguished reputation with the generation of wind players that's out there now. among institutions for professional music study in the United States. A celebrated faculty teaches some 500 undergraduate music In Spring 2006, conducted the US Marine Band at the Strathmore Music Center, Baltimore, in majors each year, maintaining the conservatory tradition within a comprehensive college setting. The School of Music is home to a sensational programme of Bach, Prokofiev and the new Corigliano Symphony, Circus Maximus. When he last specialists in virtually every orchestra and band instrument; in voice, piano, organ, and guitar; and in music education, jazz, conducted the President’s Own, he said of the medium in an interview: composition, theory, history, and conducting. Ithaca's music professors perform regularly on campus and throughout the country What I think you are finding is that more composers are using the orchestral venue to experiment and use in recitals and concerts, contribute to publications and professional organizations, and make presentations at numerous different frameworks. So, some of the works that are emerging for wind ensemble are designed not only for use conferences and workshops every year. with band but for use within an orchestral concert where you might not require the strings. I first "discovered" the medium twenty-five years ago when Frank Battisti brought the first International Conference to the Royal Northern College in Manchester. I have been increasingly excited by the potential of the medium ever since, despite the ITHACA COLLEGE WIND ENSEMBLE dead hand of commercialism and compromise that dulls so many wind concerts and recordings. Piccolo Meggan Frost Tenor Saxophone Jenna Troiano Timpani Melissa Bravo Amanda Jenne Deanna Loertscher Rose Valby * Valerie Vassar Sir Michael Tippett wrote: Amanda Kellogg We all know that the big public is extremely conservative and is willing to ring the changes on a few Flute Baritone Saxophone Trombone Percussion Jacquie Christen Anne Woodard Andrew Lawrence Megan Boutin * Matt Donello * beloved works till the end of time, and that our concert life, through the taste of this public, suffers from a kind Mary Parsnick * Bass Clarinet Alan Danahy Jennie Herreid of inertia of sensibility, that seems to want no musical experience whatever beyond what it already knows. Trumpet Oboe Kelly Bochynski Bridget Colgan D. Phillip Truex Vincent Malafronte Surely the matter is that the very big public masses together in a kind of dead passion of mediocrity, and that Monica Eason Bassoon Gregory Harris Euphonium Evan Peltier this blanket of mediocrity is deeply offended by any living passion of the unusual, the rare, the rich, the Emily Mure Katie Barker * Lindsey Jessick * Phil Giampietro * Greg Sutliff exuberant, the heroic and the aristocratic in art. Christopher Neske * Jessica Tortorici Calvin Rice Mike Vecchio Piano I would like to thank the staff and students at Ithaca College for inviting me to work with them and to introduce so much Eb Clarinet Jeff Ward Omar Williams Tuba Joshua Horsch new repertoire. This disc is a completely unedited recording of the Wind Ensemble concert in a programme drawn from an Lauren Del Re Alto Saxophone Tim Winfield Jessica Mower * Graduate Conductors international repertoire, which includes music from Greece by way of the USA, USA albeit by a Knight of the British Empire who Bb Clarinet Heidi Bellinger Horn Susan Wheatley Andrew Krus happens to live in New York, New Zealand, and Luxembourg. Three of the six works were commissioned by my wife and Kaitlyn Alcorn Allison Dromgold * Gina Zurlo String Bass Dominic Hartjes Chelsey Hamm myself as part of our series commemorating our third son, William who died in the Pyrenees five years ago. The Makris is Will Cicola * Justin Wixson * Denotes section leader published by Ballerbach and is almost totally unknown. The work by Wengler I have published in the ongoing battle to make non- Carlie Kilgore * commercial wind ensemble works available, and the performance of Reflections by Sir Richard Rodney Bennett is a 70th birthday tribute to one of our most significant English composers. We commissioned Chris Marshall’s Resonance especially for the Ithaca ITHACA WIND & PERCUSSION FACULTY Wind Ensemble, and this is a recording of the première. Arthur Ostrander, Dean; Director of Bands: Stephen Peterson This repertoire disc is from an unedited recording of the concert on 27 April 2006. Wendy Mehne, Flute Steven Mauk, Saxophone Harold Reynolds, Trombone Kelly Covert, Flute Lee Goodhew Romm, Bassoon David Unland, Euphonium & Tuba Improvisations-Rhythms Andreas Makris Paige Morgan, Oboe Frank Campos, Trumpet Gordon Stout, Percussion Improvisations-Rhythms was composed for a high school band and premièred at the Mid-West Clinic. The first part is Richard Faria, Clarinet Kim Dunnick, Trumpet Conrad Alexander, Percussion based around the opening quasi improvisando theme, which is stated on the first clarinet after a short introduction for piccolo Michael Galvan, Clarinet Alexander Shuhan, Horn and triangle, stating a note row, which later assumes importance in both woodwind and brass. The woodwind have a chance to introduce their own improvisation, molto pianissimo, under the original Makris motif on flutes and piccolo. Concert recorded live at the Ford Hall, Ithaca College Thursday April 27th, 2006 The second part is mainly in 15/8, but the bar is broken up into 5/8 + 6/8 + 4/8. The flow of the dance is interrupted by Conductor: Timothy Reynish Assistant Conductor: Andrew Krus Produced by: Mark J. Morette repeated codetta motifs of 5/8 or 7/8 and the piece comes to a rousing conclusion. It is hard to see why an original band piece Programme Notes: Timothy Reynish Mastered by: Chris Chaffee which introduces contemporary concepts of improvisation and mixed metres should be almost totally neglected by the band world. Recording Engineers: Students of the I.C. Recording Program Design and Layout: MarkArt - Jason Boldt 2 7 for many years to in the Musikhochschule in . Wengler has written over eighty works including Andreas Makris was born March 7, 1930 in Salonika, Greece and came to America in 1950 on a Rockefeller Grant to symphonies, concertos, works for the stage, film, chamber groups, and the ballet. attend Phillips University in Enid, Oklahoma. He attended the Kansas City Conservatory, graduated from the Marines College of Music, and also studied privately with in 1958. For many years he was a violinist with the National Symphony, Timothy Reynish studied horn with Aubrey Brain and Frank Probyn. He was a music scholar at Cambridge, working under from 1979-1990 he also served as resident composer and an advisor to Maestro Rostropovich for new music selection. Makris had Raymond Leppard and Sir David Willcocks and held principal horn positions with the Northern Sinfonia, Sadler’s Wells Opera a close relationship with many of the conductors of the NSO including Howard Mitchell, Antal Dorati, , and (now ENO) and the City of Birmingham Symphony Orchestra. At Birmingham in the seventies, he founded the Birmingham Leonard Slatkin. He is known almost solely in the band world for his exciting "Aegean Festival" arranged for band by Albert Bader; Sinfonietta from members of the CBSO and gave a series of contemporary concerts; he also conducted the London Contemporary the asymmetric rhythms of the work were for many band students, their first introduction to odd meter and Greek music. Players and was Guest Conductor with the Amsterdam Sinfonia. His works for wind band include: His conducting studies were on short courses with George Hurst at Canford Summer School, Sir and Sir Adrian Mediterranean Holiday, 1974 (wind ensemble) Boult, with Dean Dixon in Hilversum and Franco Ferrara in Accademia Musicale Chigiana in Siena, where he won the Diploma of Fantasy and Dance for Saxophone, 1974 Merit. A prize winner in the Mitropoulos International Conducting Competition in New York, he has conducted concerts with the Improvisations-Rhythms for Band, 1975 City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Hallé Orchestra, the BBC Regional Intrigues for Solo Clarinet and Wind Ensemble, 1987 Orchestras and the London Symphony Orchestra as well as in Norway, Holland and Germany. In 1975 he was invited by Sir Charles Groves to become tutor for the Postgraduate Conducting Course at the Royal Northern College of Music. Two years later Reflections on a 16th Century Tune Richard Rodney Bennett he succeeded Philip Jones as Head of School of Wind & Percussion, a post he retired from after over a quarter of a century. Reflections on a 16th Century Tune is based on the 16th century French popular song, A l’ombre d’un buissonet, first He was awarded a Churchill Traveling Fellowship in 1982 which enabled him to study the development and repertoire of the printed in La Couronne et Fleur (1536), and was originally commissioned for string orchestra and premièred at an ESTA American symphonic wind band movement. In the following two decades he developed the wind orchestra and ensemble of the Conference in 2001. The composer later transcribed it for double wind quintet. Like Bennett’s first work for wind ensemble, RNCM to become recognised as one of the best in the world, commissioning works from composers such as Richard Rodney Morning Music, it is a set of variations (or reflections). Bennett, John Casken, Thea Musgrave and Aulis Sallinen, performing regularly in major Festivals such as Aldeburgh, BBC Proms, Prelude: Lento - Variation 1: Allegretto - Variation II: Allegro Vivo Cheltenham, Huddersfield, Three Choirs and Warsaw, broadcasting for BBC and Classic FM, playing at three WASBE Variation III Andante (Homage to Peter Warlock) Conferences and making commercial compact discs for Doyen, Serendipity and Chandos. Variation IV: Con brio e ritmico: Finale He has given clinics, lectured, guest conducted and adjudicated in Argentina, Belgium, Canada, Denmark, Estonia, France, The theme is stated immediately, the first two strains on the high woodwind quartet over sonorous shifting chords in the low Germany, Hungary, Israel, Japan, Norway, Oman, Sweden, Switzerland, Turkey and the USA. For ten years was Editor of the sextet, the last four phrases shared between horns and the woods. Novello Wind Band & Ensemble series and he is now Editor with Maecenas Music. His engagements recently have included Variation I is a fleet allegretto in triple time over a rocking accompaniment; it winds gently down to Variation II, an concerts and conducting clinics in Brazil, Canada, Croatia, Latvia, Ireland, Israel, Sweden, Switzerland and the USA. In 2000 he extensive allegro vivo of considerable energy and wit. toured Australia and New Zealand, conducting and lecturing on British wind music, and in the Fall was a Housewright Scholar at Variation III is dedicated to the composer and author, Peter Warlock, a pen-name for Philip Heseltine. In his writings he did Florida State University; in Spring 2002 he was Visiting Professor at the School of Music, Baylor University, Texas, and during much to re-establish interest in Elizabethan music, he championed many composers especially Delius, and he left a handful of the Fall 2003 was Visiting Professor at University of Kentucky, Lexington. He was President of WASBE, the World Association for compositions, the best known being the Capriol Suite. Bennett’s Homage is a gentle andante in triple time; building in intensity Symphonic Bands & Ensembles from 2001 until 2002. before dying away with the so-called “English cadence” caused by false relations, here, a flattened 3rd and 7th resolving on to a His appearances in the USA have included conducting engagements at Universities of Arizona State, Colorado, major Bb. Connecticut, Florida State, Illinois, Iowa State, Ithaca College, Louisville, Michigan, Michigan State, Syracuse, Stetson, Tennessee Variation IV is lively and energetic in 6/8 time alternating with three, with a section in 5/8 and 7/8 providing a link straight Tech, Texas at Austin, Western Kentucky, Vanderbilt and Western Michigan. into the finale. Here the theme is restated, maestoso and loud, broken up by little syncopated canons, gradually moving In the Fall of 2005 he assumed the post of Senior Professor in Woodwind and Brass at the Guildhall School of Music and seamlessly into the dolce cantabile version which we heard in the Prelude, dying away to a unison G. Drama, and conducted the Wind Ensemble in a gala concert at the Barbican, celebrating the 125th anniversary of the founding of The four works for wind ensemble by Richard Rodney Bennett represent the composer at the height of his powers and are the Guildhall. In the Spring of 2006 he was visiting Professor at Ithaca College, in June he returned to the Royal Northern amongst the most significant works for wind ensemble of the end of the 20th century. Bennett studied at the Royal Academy College of Music in a programme of his commissions, including world premieres by Edwin Roxburgh and David Horne and under Lennox Berkeley and Howard Ferguson, and in with Pierre Boulez. His works include symphonies, concertos, a vast works by Adam Gorb and Christopher Marshall. Recent engagements include performances of La Traviata in Cheshire and amount of chamber and vocal music, opera, ballet and film and television scores, ranging from the award winning Murder on the London, and concerts in Russia and the USA. Orient Express to the more recent Four Weddings and a Funeral. Susan Bradshaw writes: No other composer has done more to develop the stylistic middle ground of 20th Century music - The Ithaca College Wind Ensemble was founded in 1981 and is the premier wind band at the School of Music. an area widely ignored throughout the 1950'’s and 1960'’s - or, incidentally, to encourage its listeners. Following in the rich tradition of Patrick Conway and Walter Beeler, the ensemble, presents some 10 concerts annually both on and off campus, including such venues as Lincoln Center. The Wind Ensemble presented a highly successful tour of England and L'Homme Arrné: Variations for Wind Ensemble Christopher Marshall Ireland in 1998, and will return to Ireland in the spring of 2007. Through a demanding schedule of concerts, tours, and L'Homme Arrné was commissioned by Tim and Hilary Reynish in memory of their third son, William. The world première was recordings, the ensemble has developed a broad reputation for performing excellence, innovative programming, and commitment given by the Guildhall Symphonic Wind Ensemble in Jönköping, Sweden, on 2nd July, 2003 as part of the WASBE Conference. to new music. Concert programs include a wide variety of music including wind band classics, chamber works from a variety of 6 3 Christopher Marshall writes: the volume of the native bird song being so intense that lessons often had to be abandoned. These days the When I decided to write a work based on this ancient tune I had to balance three competing and apparently exquisite sound of a solitary tui or korimako in the forest is like a pale echo of that time. I picture my ancestor incompatible intentions. Firstly, given the text of the song and the time I was writing the music - prior to and in a small mission school in the forest and imagine his thoughts drifting from the earnest faces of his students during the hostilities in Iraq - I wanted it to express some of my feelings towards the institution of war. to memories of his own youth back in England. Secondly, since the melody has been an inspiration over more than five centuries since its composition, I wanted to honour that tradition by alluding to some of the musical styles and employing some of the techniques Dances from Crete Adam Gorb of my predecessors. Thirdly, some evidence points to the origin of this tune as a French drinking song, so I Commissioned by Hilary and Timothy Reynish in memory of their third son William (1966-2001) World première by the wanted the music to have an element of enjoyment and exuberance. Wind Orchestra,14th November 2003, conductor Tim Reynish As the music progressed I was surprised at the extent to which the first intention became dominated by the Adam Gorb writes: second and third. Only traces of the "war theme" could be detected in the finished work. Examples are the siren- Dances From Crete is in four movements and is intended to celebrate the good things in life, drawing much like opening and closing motifs, the rhythms of Te Rauparaha's war chant "Ka mate, Ka ora" (if I live, I die), a of its material from the dance music from the Greek island of Crete, where many of the ancient Greek myths "pleading" motif derived from a "waiata tangi" (mourning song), and a brief march and funeral procession. The took place. The first movement, Syrtos is intended to serve as a portrait of the Minotaur, the famous creature homage to musical tradition is seen in the form of the whole piece, that most ancient of musical structures, that was half bull, half man, and fed upon young men and women that were sacrificed to him every year; he was variations on a theme. Within this overall form canons of all possible types and descriptions abound. I quickly eventually killed by the hero Theseus. The character of this movement is harsh and ruthless. came to the conclusion that this L'Homme armé owed much of its popularity with composers to its great The second movement, Tik, is a more graceful dance based on the sinuous movements of young women, contrapuntal potential. As for the "enjoyment theme", elements of dance and popular song from several ages and but it is also characterised by a certain roughness and is in 5/8 time. Tim Reynish writes that 'in this movement places infiltrate much of the piece and power its momentum to a vigorous climax. the whole orchestra should feel the pulse like a Cretan Peasant on the threshing floor.' Following on from this, Gradually I came to see that my three intentions for this piece were not entirely incompatible. In my research the third movement in a slow 7/4 time is darker in mood and inspired by a steep and perilous walk down the to a programme note I came across the following curious quotation with which Pierre de la Rue (1460-1518) Samaria Gorge, one of the most spectacular of all walks. The movement eventually rises to a triumphant concluded one of his two exquisite mass settings on L'Homme armé. Extrema guadi luctus occupant (the extremes peroration, depicting a welcome plunge into the Libyan Sea. Following distant offstage fanfares, the final is a of joy can ward off sorrow). Perhaps one antidote to the sorrows of war can be found in the sheer joy of music. modern Greek dance, Syrtaki, which bursts in with the offstage trumpeters swaggering back on stage playing a Originally based in Auckland, from 2006 Christopher Marshall has been composer-in-residence at the University of Central deliberately vulgar theme. The music soon becomes very fast and eventually ends in total festive anarchy, Florida in Orlando, with the collaboration of Creative New Zealand.. His music has been commissioned and performed by such groups although before the final apotheosis the ghost of the Minotaur can briefly be heard joining the party. as the New Zealand Symphony Orchestra, the Verdehr Trio and some of the world's finest choirs and wind ensembles. His choral, and Adam Gorb is one of the leading young British composers of today. His first work for wind was the exciting and exacting more recently his wind ensemble works are responsible for a growing international reputation. Marshall's music is notable for the Metropolis (1993, Maecenas), which won the Walter Beeler Prize in 1994 and was written for the Royal Academy of Music Wind importance it attaches to memorable, singable melody. Many influences can be detected, including that of the Maori and other cultures Orchestra. Since then he has written the brilliant “post-Bernstein” Overture, Awayday, (1996, Maecenas), an Euphonium Concerto of the South Pacific. He holds a Fellowship in Composition from Trinity College, London (FTCL) and a Master of Music with Honours (1997, Maecenas), Yiddish Dances (1998), perhaps his most successful work to date and a number of works for less experienced from Auckland University in New Zealand. He was awarded the Mozart Fellowship at the University of Otago for two years from 1994 bands, Bermuda Triangle, Bridgewater Breeze, Candlelight Procession and the March of the Little Wooden Warriors. His most and was Fulbright Composer in Residence at the Eastman School in 1996-7. substantial work to date for wind is a Percussion Concerto for Evelyn Glennie, The Elements (1998, Maecenas). This has been His first work for wind ensemble was school band piece, Aue, commissioned by a WASBE consortium of 60 bands and followed in recent years by Towards Nirvana (2002) a commission from the Tokyo Kosei Wind Orchestra, Dances from Crete, and ensembles. Adrenaline City (2006), commissioned by a consortium of American military bands. He is at present Head of the School of Composition and Contemporary Studies at the Royal Northern College of Music in Manchester. Resonance (World Première Performance) Christopher Marshall Chris Marshall writes: Marsch Marcel Wengler I was honoured when Tim and Hilary Reynish commissioned me to write a second piece in memory of A pupil of Henze, the Luxembourg composer Marcel Wengler wrote this work in 1981, and it received its first performance William. This time I wanted to write music of a more contemplative nature as a contrast to L'homme armé. at the Festival of Contemporary Music (Steirischer Herbst) in Austria that year. Marcel Wengler's Marsch is the basis for a set of Resonance is divided into two main sections. The first uses several thematic fragments arranged in their own loosely constructed variations with the title Versuche über einen Marsch oder die Versuchung (The Temptation). The original 'orbits'. At each appearance they inter-react with each other and evolve. The second section moves back in time march itself is entitled Association of Brass Bands March by Franz Schöggl; in Wengler’s version, the first strain is scored to reveal the whole theme in its original form, a simple hymn-like tune. After three variations, material from both “straight”, but then things go amiss with the basses who always get a quaver late in their descending scale, while the trumpets sections combines in a brief coda. This is abstract music; there is no programme. However, prior to and during and upper wind lose a quaver in their cadence. In the trio, things get worse with accompaniment finding it impossible to get on the composition process, images of nineteenth century New Zealand kept coming to mind. the correct beat, while the woodwind tunes get stuck, almost like a needle on an old-fashioned gramophone, and finally we are My great-great grandfather was one of hundreds of English missionaries in the North Island during a wrenched back to the da capo. period of rapid Maori conversion to Christianity. This was the time of the Maori prophets, their writings In the full work, now published, Wengler explores difference aspects of the march, perhaps as Ravel, Stravinsky or Alban revealing a vivid amalgam of Victorian Christianity and Polynesian warrior culture – attempts to make sense of Berg might have done, before a final rousing version of Schöggl’s original march, unscathed. the turmoil and upheaval of colonisation. Luxemburg-born composer Marcel Wengler studied at the Conservatoire Royal de Musique in and was assistant Mission schools were frequently built in clearings in the dense forest. Contemporary accounts speak of 4 5 TIMOTHY REYNISH • Volume 4 • with the ITHACA WIND ENSEMBLE6804-MCD .Marschfrom 9. Tik 6. Resonance 4. L’ Homme Armé 3. Reflectionsona16thCentury Tune 2. Improvisations-Rhythms 1. .Syrtos 5. 8. 7. WARNING: Ph: 716759-2600 •www.markcustom.com • Records Records Dances fromCrete Syrtaki Samaria Gorge All rights reserved. Unauthorized duplication isa violation of applicablelaws. All rights reserved. 10815 Bodine Road • Clarence, NY14031-0406 10815 Bodine Road•Clarence, Versuche übereinen Marsch Maecenas Music Maecenas Music Maecenas Music Andrew Krus, graduate conductor Ballerbach Support Music, Don’tCopy. Novello/Music Sales Maecenas Music Richard RodneyBennett Christopher Marshall Christopher Marshall 6804-MCD Marcel Wengler Andreas Makris ൿ 2006 Adam Gorb

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TIMOTHY REYNISH • • REYNISH TIMOTHY Volume 4 Volume • with the ITHACA WIND ENSEMBLE WIND ITHACA the with • 6804-MCD